SOME WORKSHOPPING
SKILLS FOR EDITING
CREATIVE WRITING:
POETRY, SCRIPTS, STORIES
1. Stanzas, paragraphs, chapters, may be out
of order; rearrange them for clarity and
meaning, and, to match the logical flow of
the action and events
2. Change a common or overused word:
make the strange word familiar and the
familiar word uncommon
3. Broken sentences, or fragments may mean
insufficient information is given; be more
specific or give more detailed information
4. Refer to the familiar with new images;
reinvent stale statements
5. Maintain the flow of the line or frame of
thought
6. Grammar must be correct: spelling,
punctuation, capitals, quotations, slashes,
sequence dots, colon and semicolon
7. Clarity for: message, meaning, sense and
logical sequence
8. Voice: who is speaking is not clear – too
many voices, switching point of view,
personification, and false voice are some
methods that may cause confusion
9. Anonymity should be avoided; experience
is specific and personal
10. Unintentional humour detracts and may
destroy the mood established
11. Saying too much of not enough says too
little of not much
12. Find the best word-fit; don’t settle
for “almost�
13. Balance and rhythm to be respected;
may be broken intentionally, strategically
14. To be a slave to format limits range of
artistry
15. Ineffective line breaks in poetry, or
inappropriate pauses in writing also breaks
with reader’s attention
16. Stanzas or sentences running on or
broken at wrong places will disrupt interest
17. Cliches should be avoided for punch line
endings
18. Drivel lacks substance, ‘trim the fatâ
€™; filler words also known as ‘verbiageâ
€™ dilute meaning and message
19. Refer the action to a specific subject to
avoid confusing subjects
20. Accusatory words should be reserved for
specific effects
21. Rework several lines to tighten a garbled
message; be concise and clear with fewer
words
22. Seek literary criticism from others e.g.,
writers’ workshops
SKILLS FOR EDITING
CREATIVE WRITING:
POETRY, SCRIPTS, STORIES
1. Stanzas, paragraphs, chapters, may be out
of order; rearrange them for clarity and
meaning, and, to match the logical flow of
the action and events
2. Change a common or overused word:
make the strange word familiar and the
familiar word uncommon
3. Broken sentences, or fragments may mean
insufficient information is given; be more
specific or give more detailed information
4. Refer to the familiar with new images;
reinvent stale statements
5. Maintain the flow of the line or frame of
thought
6. Grammar must be correct: spelling,
punctuation, capitals, quotations, slashes,
sequence dots, colon and semicolon
7. Clarity for: message, meaning, sense and
logical sequence
8. Voice: who is speaking is not clear – too
many voices, switching point of view,
personification, and false voice are some
methods that may cause confusion
9. Anonymity should be avoided; experience
is specific and personal
10. Unintentional humour detracts and may
destroy the mood established
11. Saying too much of not enough says too
little of not much
12. Find the best word-fit; don’t settle
for “almost�
13. Balance and rhythm to be respected;
may be broken intentionally, strategically
14. To be a slave to format limits range of
artistry
15. Ineffective line breaks in poetry, or
inappropriate pauses in writing also breaks
with reader’s attention
16. Stanzas or sentences running on or
broken at wrong places will disrupt interest
17. Cliches should be avoided for punch line
endings
18. Drivel lacks substance, ‘trim the fatâ
€™; filler words also known as ‘verbiageâ
€™ dilute meaning and message
19. Refer the action to a specific subject to
avoid confusing subjects
20. Accusatory words should be reserved for
specific effects
21. Rework several lines to tighten a garbled
message; be concise and clear with fewer
words
22. Seek literary criticism from others e.g.,
writers’ workshops
Links Tour:
My Info:
nangini@authorsden.com